I read “The New Yorker” magazine with some regularity.
Each issue has a short story included that I usually start, but don’t finish.
They rarely grab hold of me. But I went back and took a look at E. Annie
Proulx’s “Brokeback Mountain” which first appeared in October 1997. It is an
absolutely brilliant example of economy of story and character development. She
squeezes more information into a single line of dialogue than other writers can
get onto a page and fifty times the words. She won an O. Henry award for the
story.
Of course the story was adapted into a feature film
released in 2005, directed by Ang Lee and written by Larry McMurtry and Diana
Ossana. Brokeback Mountain is such an
incredible piece of movie storytelling that maintains the essence of Proulx’s
story (virtually every detail down to lines of dialogue were included) and,
while it expands the characters and situations to fill out the running time to
feature length, still manages to be a master class in economy of language. The
general rule of thumb for filmmaking should be never to have characters explain
through dialogue what can be shown in images. When it comes to the story’s main
characters, Jack Twist and Ennis Del Mar, they rarely have the possibility of
talking to anyone about what’s going on. So McMurtry and Ossana were forced to
leave feelings unspoken and for Lee to devise ways of expressing thoughts
through a facial expression or body language.
Jack and Ennis meet in 1963, a couple of young ranch
hands in Wyoming who take a job working together herding sheep on the eponymous
mountain in the summer. They slowly share stories and get to know each other
and then one night, unexpectedly, they have a fiercely aggressive sexual
encounter. Jack initiates and Ennis at first resists, but then succumbs and
becomes the dominant of the pair. Their bond strengthens through the remainder
of the summer, although Ennis is quick to insist, “I ain’t queer.” Jack, not
one to easily get caught out, responds, “Me neither.” The message is clear:
something is happening here that can never be admitted or spoken. After they
part ways, the story tracks them as they each marry separately – Jack to Lureen
(Anne Hathaway) and Ennis to Alma (Michelle Williams) – and begin a long
friendship and relationship of the course of several years during which they
see each other
Jake Gyllenhaal plays Jack, the more delicate of the two.
His features are more boyish, his voice a bit higher pitched than Heath
Ledger’s (as Ennis) gruff closed-mouth delivery. Together they are two
different, though not necessarily contrasting, images of masculinity. Their
assertion that neither is “queer” is not, strictly speaking, a denial, but
rather symbolic of a limitation of understanding and a lack of vocabulary to
describe their feelings. Readings of the film as either gay polemic or a story
of forbidden love are limiting and misunderstand the fundamental core of
Proulx’s and Lee’s argument.
For these two boys, who develop into men as the story
progresses, their culture of being raised on Wyoming ranches, their hard-wired
understanding of what it is to be a man, and the definition of love have forced
them into a certain mode of living. They are iconic representations of
masculinity that we have been handed through countless western novels, films,
and TV series. Their close bond is the fulfillment of the masculine fantasy
that binds all the cowboy pairs in history. The western genre depends on that
masculine bond that stops short of being anything more than friendship between
men. Jack and Ennis get to live and express the full feelings that have been
forbidden to men in their position for decades. And as we stand witness to it,
it’s meant to make us uncomfortable (even those liberal viewers have been indoctrinated
by a certain type of masculinity in the west) and to question what it means to
be a man.
On one hand, there is Jack, the softer version of
masculinity, emasculated repeatedly by his father-in-law, sidelined at the
birth of his son, passed over when it comes to raising the boy and impressing
upon him what it means to be a man until finally he puts Lureen’s father in his
place, switches off the football on TV, and carves the Thanksgiving turkey
himself, thank you very much, while, for the first time we’ve seen, Lureen
looks on proudly at the prospect that maybe she did marry a “real man.” Ennis,
on the other hand, is all macho preening. He’s the “top,” both literally and
figuratively, in the relationship with Jack. He also forces Alma to submit to
the only kind of sex that truly satisfies him, while most likely convincing
himself that because it’s with a woman, he’s still a “man.” While Jack’s shift
from a more subordinate role in his marriage to something more dominant appears
to help him, Ennis’s continuing dominance over Alma slowly erodes his marriage.
Alma’s knowledge of his relationship with Jack puts her in a position of
believing his manhood to be a façade. When Ennis exposes his more traditional
dominant masculine traits, Alma recoils. We first see this exposure when he
beats down two foul-mouthed drunks at an Independence Day celebration. He
stands triumphant with fireworks exploding in the sky above him while Alma
shields the girls from aggression she disapproves of. It’s an iconic and
completely ironic image that sums up the theme as one of America’s foundation
being built on hypocrisy.
Brokeback Mountain
forces us to question everything we think we know about a long tradition of
cowboy friendships and tough guys. But the truth is that, while this wonderful
depth and subtlety in the text and filmmaking makes it worth watching, its soul
is in the emotional resonance. The two aspects work in concert with one
another, weaving in and out to create one of the great movies of the first
decade of the new millennium. I can hardly find another example of a movie
relationship that has moved me as forcefully as when Ennis looks at his old
friend Jack’s denim shirt, hung next to a postcard featuring the mountain where
they first knew each other, and mutters the simple words, “Jack, I swear…”
Swears what exactly we don’t ever find out. It’s a simple and deeply
transfixing moment that, like the rest of the movie, grabs hold of you and
doesn’t let go. I swear, indeed.
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